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the stage()) is also a theatrical convention. Now the criteria employed by Bharata in making the distinction between the two styles of dramatic presentation, and then applying the same criteria to the four types of abhinaya could be inquired. Bharata is quite explicit in stating that any stage behaviour or any aspect of theatrical procedure that conforms to the norms of worldly conduct (L艒kasvabh膩va) must be regarded as realistic practice. The criterion here is mimetic fidelity or fidelity to common human experience. Any departure from this norm would become acceptable purely in terms of the laws of the theatre and the illusory world it creates. Anything that follows its natural form is called realistic while any deviation from it will be stylistic. Judged by this criterion, the basic theatrical situation, namely, that of presenting a human situation in terms of the objects, expression and concomitant feelings (falfa), in other words, the whole initiative reproduction (which is called a drama), is gudied by L艒kadharmi. There is nothing conventional or artificial about this basic illusion of reality, unless the theatre itself, as an institution, were to be regarded as a convention, in which case all art and literature too could be viewed as a convention. However, in terms of Bharata's doctrine, the stage situation per se is not to be considered as a case of Natyadharmi, because, L艒kadharmi itelf is the instrument of the primary illusion of the theatre. 19. 啶膏�嵿さ啶�啶距さ啷� 啶侧�嬥�曕ぇ啶班�嵿ぎ啷� 啶む�� 啶掂た啶�啶距さ啷� 啶ㄠぞ啶熰�嵿く啶�啷囙さ 啶灌た [svabh膩vo lokadharm墨 tu vibh膩vo n膩峁瓂ameva hi ] NS XXVI 127 70